Director Cutter Hodierne on working with cast members Abdikani Muktar and Abubakr Mire at the Variety Studio and talks about how the language barrier wasn't a problem while shooting.
Sundance Film Festival
A schoolyard full of anklebiters develops a genuine taste for flesh in "Cooties," an irreverent, off-color zom-com that seizes on the scourge of playgrounds everywhere when a spontaneous outbreak of…
Another half-formed feature from indie cinema's most prolific doodler, "Happy Christmas" demonstrates that Joe Swanberg is better at making babies than he is at making movies.
"We Are the Giant" profiles seven activists involved in various national uprisings of the Arab Spring, several of whom already have high international profiles; some are now deceased or imprisoned.
"Alive Inside" is a PSA-style salute to Nassau County, Fla.-based social worker Dan Cohen and his nonprofit Music and Memory organization, which advocates for the use of iPods in treating senior…
In their second conversation from the 30th Sundance Film Festival, our chief critics take on the rise of technology, the difficulty of diversity, and the differences between self-examination and…
A teenage girl's sexual awakening coincides with her mother's gender transition in "52 Tuesdays," an Australian indie with an unusual narrative gimmick.
"We're not trash, we're good people," insists 14-year-old Andrew in "Rich Hill," an open-hearted portrait of impoverished American life named after the tiny Missouri town where it takes place.
The Exchange has acquired international sales rights to Jenny Slate's “Obvious Child,” a week after the comedy sold at Sundance. The Exchange will begin selling the title to international buyers at…
The obstacles against effectively protecting battered women and prosecuting their abusers are vividly illustrated in "Private Violence."